Art
Mélanie Demers knows where lies the beauty of live art – The Georgia Straight
When Mélanie Demers was five years old she started ballet classes, although, looking back, she doesn’t understand why. She wanted to be a writer as a kid.
“I don’t remember asking my mom to be in a ballet class,” recalls the dancer-choreographer from her home in Montreal. “My body was not the type of body that would fit the [ballet] aesthetic, so I always felt a bit inadequate.”
That all changed for Demers by the time she was 16 though, when she discovered the more inclusive aspects of contemporary dance, which allowed her to be the person that she was. Her embrace of the form eventually led her to found Montreal’s MAYDAY experimental dance company in 2007, which, according to its website, was created to explore “the powerful link between the poetical and the political”.
Demers laughs when asked to explain just exactly how her company does that.
“That’s interesting,” she replies. “You know, like when you have a label you have to justify your label. Ummm…I don’t know how I do that. I guess I try to create links between the artistic object that I create and the world. Sometimes dance can be a little bit abstract and outside of any social, historical preoccupations, and then I try to use those links. I try—for me, to my eye—to make it relevant. Like what does this art form have to say about the world?
“Because it’s a totally different thing, having to observe the world and translate it into a dance piece rather than in an essay, you know. So there is an intelligence, there is a logic, there are meanings that we can find in watching bodies move.”
With those ideas in mind, Demers set out on an artistic path that has seen her choreograph over 30 dance works and, last year, be awarded the prestigious Grand Prix de la danse de Montréal. She describes her latest piece, La Goddam Voie Lactée (The Goddamn Milky Way)—which will be performed in Vancouver from February 4 to 6 as part of the PuSh International Performing Arts Festival—as her response to the harshness of the world.
“I first started to think about this project in the summer of 2020,” she explains, “when there was a high level of tension, social tension, around Black Lives Matter and the #MeToo Movement and stuff like that. So I guess I thought: what can I do, what can I say that has any relevance to these tense times. And instead of getting very close to the human conditions—something that I do often—I just wanted to take a step back and look at the world from a very very far angle. I was thinking about Nina Simone when she was singing ‘Mississippi Goddam’, and my idea was like, ‘It’s not just Mississippi that was goddamm, it’s the whole goddamn Milky Way.’ Like we’re all under the same umbrella, we’re all doomed.”
La Goddam Voie Lactée is performed by Stacey Désilier, Frannie Holder, Chi Long, Léa Noblet Di Ziranaldi, and understudy Misheel Ganbold, who is replacing original dancer Brianna Lombardo for the local run. Demers admits that it was quite a challenge finding the ideal blend of talent for the piece.
“I am usually someone that is very loyal to the people I work with,” she points out, “but I try to make a very distinct selection of who is going to be onstage. Like who do we give light to, who is going to embody my ideals and my ideas. So yes, it’s always a little bit delicate, but I was fortunate enough to be surrounded by amazing women, talented artists, very badass performers, who dance but also sing but also act and who can also play guitar—they’re all very versatile.
Video of La Goddam Voie Lactée (Trailer) | 2022 PuSh Festival
“So it was hard to find them,” she adds, “but also it’s very easy to work with them. And then I like to think that selecting people that you put on stage is really, I don’t know, like a microcosm of your ideal society in a way. So we have dancers that are in their 20s, and 30s, and 40s, and 50s. It’s a very beautiful, diverse cast of people.”
As choreographer and director of La Goddam Voie Lactée, Demers doesn’t appear on stage. But you wonder if, when she sees her creation unfold, her own dance instincts might make her want to join in.
“Oh no,” she says, laughing again, “I’m quite happy now to actually leave the space and the light to other performers. I’m excited by crafting a work more than embodying it. I mean, I still love to perform, and it’s something that I will always do, but I don’t have the urge to replace a dancer. The way that I work is to really craft a role on to their personality, so people are not easily replaceable; it’s actually really hard. You cannot join in and jump in in a work like that, because I use their bodies as my personal archive, so I really go deep and find their specificities and differences and put that in perspective.”
So far in her career Demers has had her dance works shown in some 40 cities across Europe, North America, Africa, and Asia. One of the joys of her profession comes from seeing the different attitudes people have to her work from place to place.
“That’s the beauty of touring a work,” she says, “to actually submit it to another gaze, another culture that will probably analyse it under a different light. You know, there’s a big deal about touring, that it’s really prestigious and glamorous, but for me what is interesting is to actually be in contact with that friction between what I created in a small studio in Montreal and what people can receive from my perspective, and then how they can interpret it. I think that’s where lies the beauty of live art.”
La Goddam Voie Lactée will be performed at the Scotiabank Dance Centre from February 4 to 6 as part of the PuSh International Performing Arts Festival, copresented by the Dance Centre.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
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